S-r-m-P-d-N-S

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Jogiya (from Sanskrit yogi: ‘State of Union’) is a shadav raga of considerable mystique. Tanarang recounts “a characteristic mood of devotion and detachment…Jogiya has komal re and dha like Bhairav, however they are not oscillated…and shuddha ma is powerful as nyas and vadi”. Generally expandable in madhya and taar saptaks, the raga’s geometries revolve around its two parallel 4-semitone sangatis (r-m & d-S). Ni is omitted in ascent, and often treated as a kan to dha in descent (e.g. S(N)dP), while ma tends to be rendered via meend (e.g. r/m, d\m). Variance persists concerning the role of shuddha Ga: some omit it in aroha or entirely, while others afford it more prominence (e.g. Amjad Ali Khan: P(mGm); (G)rS) – although those who do must clearly differentiate their motions from Bhairav. Some artists also season the scale with touches of komal ni, particularly in light-classical settings. The most famous bandish is probably Hari Ka Bhed Na Paya (e.g. Gangubai Hangal & Bhimsen Joshi). Krishnananda Vyas’ 1842 Sangita Raga-Kalpadruma depicts Jogiya as “Holding a trident, a snake, and a lute, with braids of matted hair falling about her limbs, whitened with ashes; Violent and furious in the heroic vein, she is a yogini, adept in all the lore of yoga”.

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Aroha: SrmPdS

Avroh: SNdPmrS

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Chalan: e.g. Srm; mP; PmrS; rSdS; mPdS; S(N)dP; mPdndm; mrS (Parrikar)

—Amjad Ali Khan (2016)—

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[alap, e.g. 3:12] Sr/mPd(P) P(mGm)G rS S, S/m m(GrmGrS), r/P(rmGrS), S r/P(rmrP) P, r(m)m PdPP, Pddd(Pm), mP, mPd dPm, G(mG) rSSS, d/r r, r(NrG) r(G) r(S)S (N)S, N(S) N(S) N(Sr) S(rS) N\d, m\r(P), P(NdSdrNSN), SrmPd, dPmG G(mG) r(S) SS…

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: (none found)

Also see other shadav ragas which omit Ga

–Swara Geometries–

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• Core form: S–r–m–P–d–N–S

• Reverse: SrGmPNS

• Negative: 4-1-1-2-3-1

• Imperfect: 3 (Pa, dha, Ni)

• Detached: 1 (Ni)

• Symmetries: none

• Murchanas: none

–Global Translations–

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• Carnatic: ~Saveri

S-R₁-M₁-P-D₁-N₃-S

• Jazz: Double Harmonic (no 3rd)

1-b2-4-5-b6-7-8

• Pitch classes (‘fret-jumps’):

0-1-5-7-8-11-0

(1–4–2–1–3–1)

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o o • • • o • o o • • o o

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• Tanpura: Sa–Pa (+dha)

• Names: Jogiya, Jogia, Jogi

• Transliterations: Hindi (जोगिया); Bengali (যোগিয়া)

—Ravi Shankar (1963)—